{"id":3285,"date":"2010-02-15T16:44:39","date_gmt":"2010-02-15T16:44:39","guid":{"rendered":"http:\/\/619"},"modified":"2010-02-15T16:44:39","modified_gmt":"2010-02-15T16:44:39","slug":"frederique-villemur","status":"publish","type":"post","link":"https:\/\/siefar.org\/gb\/frederique-villemur\/","title":{"rendered":"Fr\u00e9d\u00e9rique VILLEMUR"},"content":{"rendered":"<div class=\"corpsTexte\" style=\"text-align: justify;\"><span style=\"font-size: 10pt;\"><b>France *\u00a0<a href=\"mailto:fr.villemur@gmail.com\">fr.villemur@gmail.com<\/a><\/span><\/b><\/div>\n<div class=\"corpsTexte\" style=\"text-align: justify;\"><span style=\"font-size: 10pt;\"><strong><br \/> <\/strong><\/span><\/div>\n<div class=\"corpsTexte\" style=\"text-align: justify;\"><span style=\"font-size: 10pt;\"><strong>Professeure (HDR) * \u00c9cole Nationale Sup\u00e9rieure d&#8217;Architecture de Montpellier * Histoire de l&#8217;art et de l&#8217;architecture, histoire et th\u00e9ories des arts visuels (XV<sup>e<\/sup>-XXI<sup>e<\/sup>)<\/strong><\/span><\/div>\n<div class=\"corpsTexte\" style=\"text-align: justify;\"><span style=\"font-size: 10pt;\"><em><br \/> <\/em><\/span><\/div>\n<div class=\"corpsTexte\" style=\"text-align: justify;\"><span style=\"font-size: 10pt;\"><em>Genres, Corps, Architecture.<\/em><\/span><\/div>\n<div class=\"corpsTexte\" style=\"text-align: justify;\">\n<div class=\"corpsTexte\" style=\"text-align: justify;\"><span style=\"font-size: 10pt;\"><br \/> <span style=\"color: #800000;\"><strong>ARTICLES<\/strong><\/span><br \/> <\/span><\/div>\n<div class=\"corpsTexte\" style=\"text-align: justify;\"><span style=\"font-size: 10pt;\"><br \/>\n&#8211; <a href=\"http:\/\/journals.openedition.org\/imagesrevues\/8417\">\u00ab \u00c9rotique du couple lesbien \u00e0 l&#8217;\u00e9poque moderne : Diane et ses nymphes \u00bb<\/a>, <i>Images re-vues<\/i>, revue d&#8217;histoire, anthropologie et th\u00e9orie de l&#8217;art, INHA, \u00ab Regard.s Homo\u00e9rotique.s \u00bb, num\u00e9ro coordonn\u00e9 par Giorgio Fichera et Chlo\u00e9 Maillet, n\u00b017, 2020.<br \/>\n&#8211; \u00ab Hommes &#038; Femmes, masculin vs f\u00e9minin \u00bb, in F. Furlan &#038; Y. Hersant (dir.), <em>Renaissance(s)<\/em>, Gallimard, Folio Histoire (\u00e0 para\u00eetre). <br \/>\n&#8211; \u00ab\u00a0Trouble de genres et suspension de l\u2019instant\u00a0: la figure du Kairos de Girolamo da Carpi (<em>L\u2019Occasion et la P\u00e9nitence<\/em>, c. 1541)\u00a0\u00bb, in\u00a0E. Pibiri &#038; F. Abbott (dir.),<em> F\u00e9minit\u00e9 et masculinit\u00e9 alt\u00e9r\u00e9es : transgression et inversion des genres au Moyen \u00c2ge<\/em>, Firenze, SISMEL Edizioni del Galluzzo, 2016.<br \/>\n&#8211; \u00ab Mescolanza et architecture : la question de la gr\u00e2ce \u00e0 l&#8217;aune de l&#8217;ordre hermaphrodite \u00e0 la Renaissance \u00bb, in M. Closson (dir.), <em>L&#8217;Hermaphrodite de la Renaissance aux Lumi\u00e8res<\/em>, Paris, Editions Garnier, 2013, p. 357-378.<br \/> &#8211; \u00ab M\u00e9tamorphoses et transgressions de genre : Hermaphrodite et Salmacis vs Vertumne et Pomone (XVIe-XVIIe si\u00e8cles) \u00bb, in K. Imesch, J. John, D. Mondini, S. Schade &#038; N. Schweizer (dir.), <em>Inscriptions\/Transgressions. Histoire de l\u2019&#8217;art et \u00e9tudes de genre<\/em>, Lausanne, Peter Lang, 2008.<br \/> &#8211; \u00ab L\u2019\u00e9nigmatique d&#8217;\u2019un r\u00eave renaissant : la gravure de Marcantonio Raimondi dite &#8220;Le songe de Rapha\u00ebl&#8221; (c. 1508 ) \u00bb, in D.Martin, P. Servet &#038; A. Tournon (dir.), <em>L&#8217;\u00c9nigmatique \u00e0 la Renaissance : formes, significations, esth\u00e9tiques<\/em>, Paris, H. Champion, 2008 <em>(analyse de deux nus f\u00e9minins)<\/em>.<br \/> &#8211; \u00ab Le suicide de Lucr\u00e8ce, ou la R\u00e9publique \u00e0 l&#8217;\u00e9preuve de la chastet\u00e9 dans les arts des XVe-XVIIIe si\u00e8cles \u00bb, in J.-Cl. Arnould &#038; S. Steinberg (dir.), <a href=\"1\/\"><em>Les Femmes et l&#8217;\u00e9criture de l&#8217;histoire. 1400-1800<\/em>,<\/a> Mont-Saint-Aignan, PU de Rouen et du Havre, 2008. <br \/> &#8211; \u00ab De l&#8217;Air ! Les Amazones de Claude Deruet (1588-1660) \u00bb, in G. Leduc (dir.), <em>R\u00e9alit\u00e9 et repr\u00e9sentations des amazones<\/em>, Paris, L&#8217;Harmattan, 2008. <br \/> &#8211; \u00ab Histoire des femmes, histoire du genre. Pratique d\u2019&#8217;historiennes \u00bb, <em>Soci\u00e9t\u00e9s &#038; Repr\u00e9sentations<\/em>, 24, novembre 2007, \u00ab (En)qu\u00eates de genre \u00bb.<br \/> &#8211; \u00ab La masculine, le f\u00e9minin\/Corriger la nature : quelques remarques sur la figure androgyne chez L\u00e9onard de Vinci et Michel-Ange \u00bb, <em>Images re-vues,<\/em> Revue d&#8217;Histoire, Anthropologie et Th\u00e9orie de l&#8217;Art, 3, 2007 (<a href=\"http:\/\/imagesrevues.org\/ANNEXE\/IndexAuteurs.php\">en ligne<\/a>).<br \/> &#8211; \u00ab Omphale travestie : Gestes, postures et strat\u00e9gies de renversement dans l&#8217;ali\u00e9nation amoureuse (peinture des XVI<sup>e<\/sup>-XVIII<sup>e<\/sup> si\u00e8cles) \u00bb, in G. Leduc (dir.), <a href=\"1\/\"><em>Travestissement f\u00e9minin et libert\u00e9(s)<\/em><\/a>, Paris, L&#8217;Harmattan, 2006. <br \/> &#8211; \u00ab Architecture du r\u00eave et r\u00eave d&#8217;architectures dans le <em>Discours du Songe de Poliphile<\/em> \u00bb, in <em>Architecture, litt\u00e9rature et espaces, <\/em>Limoges, PU de Limoges, 2005. <br \/> &#8211; \u00ab Diane et ses nymphes, nus et paysages dans la peinture de la Renaissance \u00bb, in C. Bard (dir.), <em>Le Genre des territoires. F\u00e9minin, masculin, neutre,<\/em> Angers, PU d&#8217;Angers, 2004.<br \/> &#8211; \u00ab La musique adoucit-elle les veufs ? \u00bb, in N. Pellegrin &#038; C. Winn (dir.), <em>Veufs, Veuves et veuvage dans la France d&#8217;Ancien-R\u00e9gime,<\/em> Paris, H. Champion, 2003.<br \/> &#8211; \u00ab La fl\u00e8che et le baiser : Diane et Callisto \u00bb, <em>Albineana<\/em>, XIV, 2002 (\u00ab Le Mythe de Diane en France au XVIe si\u00e8cle \u00bb).<br \/> &#8211; \u00ab Eros et Androgyne : la femme comme un &#8220;autre soy-mesme&#8221; \u00bb, in K. Wilson-Chevalier &#038; \u00c9. Viennot (dir), <em>Royaume de F\u00e9mynie, Pouvoirs, contraintes, espaces de libert\u00e9 des femmes, de la Renaissance \u00e0 la Fronde,<\/em> Paris, H. Champion, 1999.<br \/> &#8211; \u00ab Saintes et travesties \u00bb, <em>Clio-Histoire, Femmes et Soci\u00e9t\u00e9s,<\/em> 10, 1999 (\u00ab (Femmes travesties : un &#8220;mauvais genre&#8221; ? \u00bb).<br \/> &#8211; \u00ab De la &#8220;philautie&#8221; chez Marguerite de Valois : amour de soi et pacte autobiographique \u00bb, in J.-P. Beaulieu &#038; D. Desrosiers-Bonin (dir.), <em>Dans les Miroirs de l&#8217;\u00e9criture. La r\u00e9flexivit\u00e9 chez les femmes \u00e9crivains d&#8217;Ancien R\u00e9gime,<\/em> Montr\u00e9al, Paragraphes, 1998.<br \/> &#8211; \u00ab \u00e0 visage retourn\u00e9 : l&#8217;androgyne bi-frons \u00bb, <em>Adolescence<\/em>, XI, 2, 1993 (\u00ab Visages de la fratrie \u00bb). <\/span><\/div>\n<div class=\"corpsTexte\" style=\"text-align: justify;\"><span style=\"font-size: 10pt;\">\u00a0<\/span><\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>France *\u00a0fr.villemur@gmail.com Professeure (HDR) * \u00c9cole Nationale Sup\u00e9rieure d&#8217;Architecture de Montpellier * Histoire de l&#8217;art et de l&#8217;architecture, histoire et th\u00e9ories des arts visuels (XVe-XXIe) Genres, Corps, Architecture. ARTICLES &#8211; \u00ab \u00c9rotique du couple lesbien \u00e0 l&#8217;\u00e9poque moderne : Diane et ses nymphes \u00bb, Images re-vues, revue d&#8217;histoire, anthropologie et th\u00e9orie de l&#8217;art, INHA, \u00ab [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":1933,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[14,5],"tags":[],"categorie_personnage":[],"class_list":["post-3285","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-non-classe","category-repertoire"],"translation":{"provider":"WPGlobus","version":"3.0.0","language":"gb","enabled_languages":["fr","gb"],"languages":{"fr":{"title":true,"content":true,"excerpt":false},"gb":{"title":false,"content":false,"excerpt":false}}},"acf":[],"_links":{"self":[{"href":"https:\/\/siefar.org\/gb\/wp-json\/wp\/v2\/posts\/3285","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/siefar.org\/gb\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/siefar.org\/gb\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/siefar.org\/gb\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/siefar.org\/gb\/wp-json\/wp\/v2\/comments?post=3285"}],"version-history":[{"count":0,"href":"https:\/\/siefar.org\/gb\/wp-json\/wp\/v2\/posts\/3285\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/siefar.org\/gb\/wp-json\/wp\/v2\/media\/1933"}],"wp:attachment":[{"href":"https:\/\/siefar.org\/gb\/wp-json\/wp\/v2\/media?parent=3285"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/siefar.org\/gb\/wp-json\/wp\/v2\/categories?post=3285"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/siefar.org\/gb\/wp-json\/wp\/v2\/tags?post=3285"},{"taxonomy":"categorie_personnage","embeddable":true,"href":"https:\/\/siefar.org\/gb\/wp-json\/wp\/v2\/categorie_personnage?post=3285"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}